This is a compilation of lectures delivered by different lecturers in a series of symposiums assembled under the supervision of the Japanese Psychological Association (as an editor of this book), with each lecturer in charge of a whole chapter. Four of seven chapters address motions in animation as a study topic. I was also responsible for a chapter entitled, “Animation no Ugoki [Motions in animation].”

As seen in the subtitle, “how psychology captures ‘motions,” this book provides a summary of how various disciplines in psychology capture and use motions. This is a reference book for those who want to know about the general motion mechanism, as well as animations.

This guidebook explains basic knowledge of different objects of perceptions, including color, shape, space, and movement, as well as mysterious perceptual phenomena in a thought-provoking manner. Considering perception of motions in particular, the companion DVD promotes understanding of various motion phenomena that are understood differently in written form.

“Affordance” is a term that people who are interested in motion perception would understand. Grasping what affordance is, combined with the explanation on “fuhenko [constants]” in this book, would provide clues to distinguishing motions of oneself and in the environment.

This anthology collected studies on sensory languages and commonly termed onomatopoeia from a wide range of perspectives, including developmental, language, and cognitive psychology. Chapter 3, written by the editor of the book, presents comparative studies on the frequency of the occurrence of onomatopoeia used to express the speed of walking and intensity of rain.

In the chapter entitled “E wo ugokashi maboroshi no zō wo eru [Move pictures to obtain an illusory image],” various devices that give motion to pictures before the birth of films are presented with an abundance of pictures. It is useful as a tool to know the outline of device mechanisms (including toys) used in the past.

This book is useful for understanding characteristics of humans and robots in a multifaceted fashion. However, more importantly, the book’s author proposed the concept of “uncanny valley.” In the section entitled “Bukimi no tani gensho no hakken [discovery of uncanny valley phenomena],” the author mentioned repercussions of this concept in this century.

This is a commentary on the “uncanny valley” in games and animations that incorporated psychological perspectives. The discussion takes place predominantly at the levels of still life, for example, regarding how facial expressions affect viewers’ emotions and the threats that facial expressions pose on viewers. Statements on motions are also included.

This animation directed by Katabuchi is based on the manga of the same title by Fumiyo Kōno. By comparing two forms of the same work, one in a form of immovable manga and the other in a form of movable animation, the book provides perspectives and clues for contemplating the essence of motions in animation.

Ryota Fujitsu, a planner and designer of this book, did an excellent job in drawing interesting stories from the author through the interview. Throughout the book, techniques for motion expressions are presented, such as a technique to express an emotion in the upward movement of the sword, rather than the downward movement.